明清杭州戲曲的美學品格──以高濂、李漁為例
| dc.contributor | 蔡孟珍 | zh_TW |
| dc.contributor | Tsai, Meng-Chen | en_US |
| dc.contributor.author | 詹馥嫚 | zh_TW |
| dc.contributor.author | Chan, Fu-Man | en_US |
| dc.date.accessioned | 2023-12-08T07:41:50Z | |
| dc.date.available | 2023-07-25 | |
| dc.date.available | 2023-12-08T07:41:50Z | |
| dc.date.issued | 2023 | |
| dc.description.abstract | 自南曲戲文萌發，歷宋元兩代醞釀，至明清兩代傳奇體製成熟，杭州居戲曲發展史上重要地位，而高濂、李漁正是晚明清初杭州戲曲之代表性人物。本論文探討高濂、李漁的名劇與其美學理論，研究「戲曲美學」與「時代風尚」之間的交映意趣，彰顯晚明清初杭州戲曲所展現的特殊美學品格。高濂《玉簪記》至今常見於崑曲舞臺搬演，該劇留下諸多文人式的生活品賞，這些「物」與「藝」包含了諸多明末文人的審美意識，茶、香、琴、棋、書等文人雅道與生活雅藝被豐厚描寫，加上月、花木、居室院落等「空間」與「景」的搭配，既是晚明追慕宋代的文化符碼，也是明末文人生活藝術上的登峰造極。而《遵生八牋》亦顯示高濂本人正是此文人文化的實踐者，琴、茶、香、書、居室、器物、植栽、旅遊等事皆有涵攝與考證。李漁的劇作置入更多通俗化的文學表現，日常品茶、古玩買賣、品賞女子、清明風俗皆入劇作，更用調笑趣寫的方式記錄科場百態，展現出明清之際更多「生活日常與世情風俗」影響文學的寫作元素。李漁在《閒情偶寄》中對「物質」、「空間」與「戲曲理論」的論點也與劇作連結、呼應，影響劇作與舞臺設計。此外，劇作中的旅遊勝地、宗教場所與園林、青樓等地，亦反映晚明清初具歷史意義的場域。高濂、李漁二人劇作之時代思想意識，如女性特寫、情理辯證等，亦為晚明清初杭州戲曲的時代特色。 | zh_TW |
| dc.description.abstract | In the history of theatrical development, Hangzhou occupies a central position. This paper explores the renowned plays and aesthetic theories of Gao Lian and Li Yu, two representative playwrights of Hangzhou opera, examining the intriguing interplay between"dramatic aesthetics" and "contemporary trends," thereby highlighting the unique aesthetic qualities exhibited in Hangzhou opera during the late Ming and early Qing periods. Gao Lian's play "The Jade Hairpin," which continues to be frequently performed on Kunqu opera stages, presents aesthetic sensibilities including tea, incense, music, poetry, chess, as well as the background settings of the moon, flowers, plants, cranes, and interior courtyards. Another work, 'Zunsheng Bajian,' also revealsGao Lian's profound familiarity with these subjects. Li Yu's theatrical works incorporate numerous elements from everyday life, such as tea drinking, antique trading, appreciation of women, and Qingming customs. He cleverly employed humor to record the various aspects of the imperial examination system. In "Xianqing Oujian," Li Yu's viewpoints on "objects," "space," and "theories of drama" also exerted a profound influence on the composition of theatrical works and the design of stages. Furthermore, the theatrical works also reveal historically significant settings, such as tourist spots, religious sites, gardens, and brothels. Gao Lian and Li Yu's plays reflect the ideological consciousness of their era, with notable themes like focusing on women's perspectives and discussions on emotions and reason, which are also Hangzhou opera's unique characteristics during the late Ming and early Qing periods. | en_US |
| dc.description.sponsorship | 國文學系碩士在職專班 | zh_TW |
| dc.identifier | 004202101-43592 | |
| dc.identifier.uri | https://etds.lib.ntnu.edu.tw/thesis/detail/43ee05599ff9f01103454fd28bf6adec/ | |
| dc.identifier.uri | http://rportal.lib.ntnu.edu.tw/handle/20.500.12235/119844 | |
| dc.language | 中文 | |
| dc.subject | 杭州戲曲 | zh_TW |
| dc.subject | 高濂 | zh_TW |
| dc.subject | 李漁 | zh_TW |
| dc.subject | 戲曲美學品格 | zh_TW |
| dc.subject | Hangzhou Opera | en_US |
| dc.subject | Gao Lian | en_US |
| dc.subject | Li Yu | en_US |
| dc.subject | Aesthetics of Traditional Opera | en_US |
| dc.title | 明清杭州戲曲的美學品格──以高濂、李漁為例 | zh_TW |
| dc.title | The Aesthetics of Hangzhou Traditional Opera in Ming and Qing Dynasties── Illustrated by the Examples of Gao Lian and Li Yu | en_US |
| dc.type | etd |
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